VIBRATION
the old masters, which consisted in a solid underpainting in black and white with a slight admixture of red. In this method the whole scheme of the picture was built up with these three pigments, and all of the drawing and modelling was accomplished without any attempt at color. Then, after a very thorough drying, the work was completed and the color obtained by a series of very thin glazes drawn over the dried and hardened surface. This method, although wonderfully sound in itself and lasting in its results, must of course be discarded by the modern painter for the reason that it precludes all possibility of vibration.
Of the three remaining systems one other is entirely bad for the same reason—it does away with vibration. This system consists in mixing the tones evenly and applying them to the canvas
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